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Images have always played a vital role in political communication and in the visualization of power structures and hierarchies. They gain even more importance in situations where non-verbal communication prevails: In the negotiation processes between two (or more) different cultures, the language of the visual is often thought of as the most effective way to acquaint (and overpower) the others with one's own principles, beliefs, and value systems. Scores of these asymmetrical exchange situations have taken place in the Portuguese overseas empire since its gradual expansion in the 16th century.
This book offers new insights into the broad and differentiated spectrum of functions images could assume in political contexts in those areas dominated by the Portuguese in early modern times. How were objects and artifacts staged and handled to generate new layers of meaning and visualize political ideas and concepts? And what were the respective reasons, means, and effects of the visualization of Portuguese power and politics?
List of contents
7 Preface and Acknowledgements9 - 18 Visualizing Portuguese Power (Urte Krass)19 - 48 Artistic Images and Objects as Agents of Politics and Religion (Carla Alferes Pinto)49 - 73 Calligraphy and the Royal Emblems (Márcia Almada)75 - 86 Imperial Propaganda and the Representation of Otherness in Portugal in the Early Modern Times (Maria Berbara)87 - 117 'Dressed Up' in 17th Century Goa (Pamila Gupta)119 - 140 Allegory and Narrative (Barbara Karl)141 - 171 Loyalty Made Visible (Urte Krass)173 - 195 Stones of Contention (Giuseppe Marcocci)197 - 234 Building the Image of the Portuguese Empire (Giuseppina Raggi)235 - 260 Book Illustrations and the Politics of Publishing (Jeremy Roe)261 - 287 From Descriptive/Verbal to Pictorial Visualizations (Ines G. Zupanov)289 - 295 Afterword (Jens Baumgarten)297 - 300 Contributors301 - 309 Index
About the author
Urte Krass studierte Kunstgeschichte und Geschichte an der Universität Hamburg, arbeitete von 2004 bis 2008 als Wissenschaftliche Assistentin und Promotionsstipendiatin am Kunsthistorischen Institut in Florenz Max-Planck-Institut; seit 2009 ist sie Wissenschaftliche Assistentin am Institut für Kunstgeschichte der Ludwig-Maximilians-Universität München.
